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Hi everyone, For an art installation, I would really like to use the Eumig r2000 instaprojector. My question is...is there any possible way to loop the film? Even for 10 seconds. The longer the better, but I could do also with very short time. Thanks a lot

Hello all, I am a student interested in filmmaking and i have an idea for a short that I would potentially like to shoot on super 8. I use a canon 514 xl which shoots at 18fps and gets scanned in at 24. I end up bringing it back to its original speed in premiere later on but i would like to record dialogue at the same time for a little 2 minute short. I was wondering if anyone has had experience with blimping this camera or recording dialogue with a similar super 8 setup as I would much rather use film than digital for this project. I appreciate any advice you guys can give me. Thank you Nick

I have never been able to find the answer as to why film gates have rounded corners. The question pops up when ever a 16mm gate is widened to super 16. But I generally cannot find the answer. the only possible reason I could think of is if its trivial to have right angles and speeds up the machining processes after milling, not to have to go in and clean up the corners. Any Ideas anyone?

Hey guys, I found an Argus Cosina 708 for 18 bucks today. I'm wondering if that's a good deal. He says it has signs of battery leakage, but I saw the pictures and it doesn't look damaged at all. He says he can't open the cap on the electric eye though. I'm new to these things though so I don't know if I can fix that. He might just be having trouble too, I don't know. It comes with the case and manual too. So what do you all think, should I get it?

Hey, so i recently got this Sankyo super8 camera for $5... It's missing a button on top just ahead of a rocker switch and I don't think the rocker does anything anymore. I believe the model is CME666. If anyone could tell me if it will still shoot I would greatly appreciate it! The motor does work and everything else on it works too.

Hi all, Long time lurker first time poster. I picked up a Canon 1014-XLS in beautiful condition off craigslist from a local here in LA. Came with the original box and all the accessories. It's lovely. Everything works as it should, and everything is clean and smooth except....the lens is stuck. The zoom motor seems to work, when I press W and T both cause the motor to move (or so I hear), but the lens barely budges. It's stuck at the far end at 65mm. Read the manual and saw nothing about locking focal length. I've reached out to two local Super 8 shops as I want to have the seals replaced anyways, but I'm wondering if anyone has encountered this and maybe it's something I can fix myself. I'm dying to play with it. Thanks! Erynn

Hello, are there any wide angle screw on accessory lenses that you can recommend other than the OEM Canon WA that was available in the 70's. This would be for a customer and for a 1014 Auto. I have explained the stop issue and lower quality outcome. I found the OEM Canon version on eBay but it's a bit costly Thank you for your assistance

Hi all I am new here .... So thank you in advance for your help. I have a Beaulieu 5008 which works to close (even the batteries) but I would like to modify 2 or 3 things on it are screws and the optics has of the play at the level of the camera. I saw a repair manual existed and I wanted to know if someone who has it could give it to me. Thank you (Google translation ;-()

Looking for recommendations (equipment and/or businesses) that can bring my old super 8 films back to life. I have 20 3" reels of home footage circa 1980 that I'm concerned will disintegrate if I don't so something soon. They've been stored in a plastic container and I'm unsure of the current quality. I'm near LA and price is not a priority (also willing to ship) - just want to find the best shop and colorist for this type of job. Who is the best outfit to tackle this - and with what equipment? ScanStation Director Golden Eye HD Spirit Something else? 2k or 4k? Cinelicious Spectra Film Cinelab Gamma Ray Periscope Films Roundabout Entertainment Someone else? Any other tips or advice is welcomed and appreciated! I've learned a lot reading these forums - thank you!

Has anyone tried making their own external power source for a Bauer 715? I recently rolled the dice on a relatively inexpensive Bauer 715 and the good news is that it does run. ...The bad news is that it only runs if I hold the battery compartment in the perfect position. One problem is that the white plastic "battery housing" or battery holder is missing so the batteries move around quite easily. I may have at least temporarily conquered that with some tape. Anyone familiar with Bauer 715 probably already knows that the lid for the battery compartment is broken and won't stay attached without some extra help. I could try ordering parts but I wonder if anyone has tried getting around these problems by simply creating an external battery belt or battery pack. This idea was actually suggested by an employee at the local hobby shop and it sounds easier to me than fussing around with spare parts. Looking inside the battery compartment it appears the first step to getting deeper inside the camera are 3 yellow/gold flat-head screws. I can get at them but they don't seem easily moved. Might they be glued in? The camera runs off of 6 AA batteries, so I think that means 9 volts are required. So maybe get a battery holder for 9 volts (holds 6AAs) and wire that into the camera once the contacts 9for the AA batteries are removed ??

Includes transfer unit, sync cord, everything besides the capturing camera. dm for photos Thanks! - Hunter http://moviestuff.tv

Hello I recently picked up a Canon 814 XL and I have many questions about film speed and manual exposure. To start, Most of the time I'm going to be using Kodak film stock. 50D 200T 500T I understand these are ASA speeds correct? I read my cameras manual and i noticed that it does not read any of these film speeds. Artificial - 25 40 64 100 160 250 400 Daylight - 16 25 40 64 100 160 250 My question is, What will my camera read it as then? What does this mean for my auto exposure and manual exposure? I've read some things in these forums about over exposing manually or underexposing, if thats the case, how do i go about doing that? If someone could explain f-stops to me, or refer me to a video or something that would be great! I've seen a few videos on the subject but I'm still a little confused how f-stops and film speed coincide, and how to underexpose and overexpose, things like that. Another question. I've read about a notch hack that you can do to the Tungsten stocks to disable the filter. My question is, Why would you want to do a notch hack on a Tungsten stock when the internal filter corrects it for you?

Hello everybody, I was hoping to find the Kodak Super 8 film camera at the NAB2017, but I haven't have any luck. Does anyone knows what happened to that project? MOY

Hello All! New user here and I'm hoping this great community can help me out. For the past week, I have been desperately trying to find a comprehensive and complete guide to processing Kodak Super 8 Tri-X 7266 at home. I can't seem to find any localized complete source of information on how to do this--while I've been able to find what sort of materials I'd need, the chemistry bit seems really though to understand. There seems to be multiple opinions on what sort of chemistry to use, but no real guide on how to do it or which chemistry works best. Now to be honest, I've never developed reversal film at home before--however, I do have a darkroom, and have been devleoping my own still film (black and white and color) since I was about 13 (I'm 25 now.) I've been shooting Super 8 (and Reg. 8, and some 16 here and there) for a long time now, and I'm to the point where I'm shooting so much of it, I think it might make sense to invest up front in the materials to develop at least Super 8 Tri-X at home. I should also say: I'm not a chemist--I have a degree in English, so I took 1 chemistry class in all of my education--and it was the history of chemicals--so my ability to understand how chemistry works is pretty sad, to be honest--I know how to follow mixing instructions on bottles and packets--that's about it! I'm just interested in processing the film for reversal results--I'm not interested in cross processing or anything 'artistic'--I'd like to just reproduce the results from the lab, if at all possible Can anyone provide a resource that goes over exactly what chemicals to use to process Super 8 Tri-X 7266 (and possibly where to buy them), mixing instructions, and processing times? I would be forever in your debt! Here's my materials list: -Chemistry -Spiral Lomo Tank -Containers for chemistry? -100 or 300 watt bulb -Drying device (Morse Drying Drum (or similar) Thanks to all for your time and help! Owen - Cleveland.

Hi Everyone, My name is Will and I am a director DP. Before I get redirection comments, I want to say I am starting this thread because after a few weeks of combing through past forum posts, many of the topics/resources I am searching for are extremely dated an the websites I get directed to no longer exist. So I am now interested in finding links back to some of the outlets, or finding the individuals who can help me find where the Super 8 outlets I am looking for have gone. I am not looking for low budget tips, workarounds or DIY (unless that is a last resort). I am a fairly experienced commercial and feature director/DP. I have produced 2 features films, countless shorts (some good, some not) and am currently working in Berlin as a Table Top and music video director. I started with s8mm 12 years ago. I know its limitations, and I know this stuff all takes a lot of time and money. Phew, not that that is out of the way--on to the beef: I am getting back into S8. Mostly because my latest feature calls for it--the first 5 minutes play out in 1980s East Germany--where the rest of the film plays out contemporary. I have decided to shoot these first 5 min on 8 to add an aesthetic and to separate the time. Sure, I could fake it, but I don't want to and I have the budget not to. Also, I have tracked down some 8mm footage from the time and region I am shooting in--if I can get away with it, I want to try and integrate the historic footage for establishing shots. It might not work--I'm not worried about that right now. I recently won a Beaulieu 6008 PRO on Ebay. I have already sent it off to Björn to be rebuilt and modified. I am having him widen the gate and modify the Quartz unit to run at 24fps instead of 25fps (I work in a US market). He is also modifying the front mount (machining it down) to accept my set of Veydra Mini Prime lenses (the bases are too broad, and don't sit flush because of the LCU mount). This is new, modern glass that I use with my Blackmagic rig, but Veydra has provided me with new mounts to let them work on C mount systems. I also have the Schneider 6-66 1.8 for a second option. I am clearly putting some money into this rig, and I plan to use this for many future projects (music videos, short films, possibly a feature). I am looking for the following resources as the websites/companies no longer exist: 1. A good sound Barney and/or Blimp to make dialog recording more of a possibility. 2. Ways to add on a rail system for follow focus/matte box, and also keep the camera level on the tripod. 3. Any leads on how to build/integrate a 200ft/60m cartridge/magazine. Björn tells me parts for the Ritters aren't available any more. I know these were built out of the R16 mags. Is there a former Ritter employee with build plans? Part Leads? Is there a way to take the old Kodak 60m cartridges and make them reloadable? Any lead on where to find them? I am willing to get very customized on this and invest some money to make it work. 4. Thankfully, batteries on the 6008 are easy to swap, but does anyone have any knowledge on integrating a v-mount type system? And again, I have searched the forums for these topics but they are all dated and lead to dead ends. Also, I know I could do 16 with what I am putting into this. I don't want to though. I want to make this work. That's it for now. Thanks so much guys! I appreciate the help! ~ Will

Anyone interested in buying these machines. I never use them anymore and since the cameras stopped working I haven't been able to put the time or money into getting them up and running again. Comes with everything you need besides the camera's to transfer your 8mm/super 8 and 16mm films to digital. If anyone's interested I can take some pictures. Thanks! - Hunter

Got some questions about pushing and pulling film stock after reading this fantastic article about shooting La La Land on film, and after a recent wedding I shot. I'm not a complete novice or anything but still only been shooting motion picture film for a couple years now. As I said, I shoot weddings among other things on Super 8 and sometimes, you just gotta deal with the light you're given. Last wedding I shot, the ceremony was EXTREMELY dark, I'm talking like, you could barely see the couple with your eyes dark... So I was shooting 500T on my Beaulieu 1008XL (f1.2 lens, 225º shutter) wide open then I had CineLab push it a stop in development. I DID get back an image amazingly but it is pretty darn grainy. It's ok but I'll have to work around it with my other footage. And it got me to researching it some... After reading about pushing and pulling online and on Kodak's website here it seems like pushing may not be the best idea for low light contrary to my thinking. Plus this quote "Push processing is not recommended as a means to increase photographic speed." I know pushing only increases light that's hit the film therefore more light gets brighter whereas little light get a little brighter hence more contrast. So why does Kodak speak against it so much? In low light should I just shoot at box speed and then fix in the scan. I know Phil of Pro8mm says on his site that pushing is largely unnecessary with the quality of scans these days. Thoughts from other scan labs like Gamma or CineLab? What's the point in pushing film then? Also... pulling film. In the La La Land article, they mention shooting 250 at 100 and 500 at 200 and then pulling in development. Does anyone do this? For film I've overexposed, I've always just done normal processing and fixed in post due to the large latitude of V3. Would it be better to pull? They mention finer grain and lower contrast in the article. I always just figured it was a fix for overexposure. A novice viewpoint, clearly. Also how they heck are they shooting nighttime at 200ASA!? Sorry for the long post but a bit confused and curious about more experienced shooters' thoughts.

Shared it in the Super 8 forum but figured such huge news warranted a post here as well! Kodak is reviving Ektachrome 100D!! http://www.kodak.com/US/en/corp/Press_center/Kodak_Brings_Back_a_Classic_with_EKTACHROME_Film/default.htm

Hello cinematography.com friends! I just finished up my latest short film and I wanted to share it with you guys. Shot entirely on vision 3 super 8 stock (50D,500t) This was my first attempt at creating a narrative on actual film. The camera used was a Sankyo 40s xl and the process/2k scan was performed by Pro8mm in Burbank. Thanks! Happy New Years. - Hunter <iframe src="https://player.vimeo.com/video/197584631"width="640" height="486" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe>

For Sale: 2 cartridges of Kodak Super 8 Ektachrome 100D film. Has been kept in freezer since purchased from Kodak. Asking $120.00 US plus shipping.

Appreciate any suggestions, please be candid. When I put effort towards a project, people tend to get silent. What am I doing wrong?

Hey crew, Hope this isn't against any rules but figured if there was ever an audience for this, it's everyone here. So I just wanted to spread the word and ask for help for an amazing cinema arts organization here in NYC. It's called Mono No Aware and its director, Steve Cossman, has been running really fantastic 8mm and 16mm film based workshops and screenings in NYC and honestly all over the country and world for 10 years now. Most of those workshops have been out of its directors apartment in Brooklyn as well as NYC-based community darkrooms. I just want to be clear... I don't work for Mono No Aware or Steve. And have only taken a few workshops from MNA (like the 500T reversal one I documented here or b&w caffenol non-toxic processing or b&w reversal) which I loved and made me really fall in love with the format and the tangible aspect of it. Anyways, Mono No Aware is running a kickstarter to start the world's first motion picture non-profit lab here in Brooklyn, NYC to help the artist community and grow that community as well. It will feature lots of capbilities like processing, 2k scanning, rentals and more workshop space. From projects like Impossible Project's film and camera, New 55/New55 Color instant film, Film Ferrania, Kodak's new camera/processing and other film based projects, a lot of really awesome things are happening in film now that things are leveling out in terms of digital adoption. Let's make it happen! (Also donate to New55 Color if you can! I don't even have a 4x5 but donated to help keep peelapart alive) Here's a bit of info directly from the kickstarter but check it out and donate what you can. If there was ever an organization that deserves some filmmakers cash, it's MNA and Steve Cossman. That man puts his life and soul into making it thrive. MONO NO AWARE is a cinema-arts non-profit organization working to promote connectivity through the cinematic experience and preserve the technologies of traditional motion picture filmmaking. In 2015 MONO NO AWARE Organized 38 Local workshops for 420 workshop participants in Brooklyn Traveled to lead 40 Classes and lectures at host institutions for 600 participants through outreach programs Facilitated 100+ equipment rentals Distributed 50,000 feet of film stock for 1,000's of filmmakers Presented 20 artist-in person screenings for 1,000 audience members Presented the work of 33 international artists at our 9th annual exhibition to an audience of 900 over 2 nights The MONO Lab will be unique because in addition to our strong educational initiative and active screening series, we will be able to offer the services of a commercial lab, affordable facilities for continued practice, and we will increase our ability to host international artists for production of new work and presentation opportunities. With the equipment donations from a major motion picture lab, professional animation studios, and several post-production facilities, we now have the ability to provide so much more--all under one roof. With our space we can become self sustaining in our efforts to engage and play a larger supporting role within that landscape on all levels. OUR GOAL The more that we can raise through this campaign the more we can make available to a greater number of people. Increased services and facilities will include: SUPER 16MM & SUPER 8MM LINEAR PROCESSING FOR B/W & COLOR NEGATIVE FILM SUPER 16MM CLEANING AND SCANNING SERVICES SUPER 16MM & SUPER 8MM CAMERAS / LENSES / PROJECTORS / INCREASED PRODUCTION EQUIPMENT ACCESS & SPACE DRY LAB SPACE - OPTICAL PRINTING / CONTACT PRINTING / FLATBED EDITING & VERTICAL EDITING STATIONS WET LAB SPACE - WITH 24 - HOUR ACCESS TO FACILITIES INCREASED PROGRAMMING / WORKSHOPS / SCREENINGS / RESIDENCIES This is a critical point in the history of the moving image. With your help, we can make this new space a reality. Mono No Aware is a 501©(3) organization, which means your donation is tax deductable. So ya. There's my plea. I'm donating. Hope you do too! And be sure and take a workshop if you're ever in NYC!

Hi! I'd like to sell my Pro8mm "Classic Pro" with max 8 modification. It will come with the 8-64 zoom, a Cosimcar Pentax 6mm 1.2 prime, and the single lithium ion cell/charger. This camera has seen probably 10 reels since purchased from Pro8mm. It's as new as it was from the company. It's in beautiful hammertone finish. I have some Hoya color correction and ND filters I'll throw in too. This is a camera I will miss, but I have to save up for a relocation so it must go. I'd like $1750.00. That's a $940.00 discount from what Pro8mm currently charges. Here is the Pro8mm listing: http://www.pro8mm.com/Merchant5/merchant.mvc?Screen=PROD&Store_Code=01&Product_Code=CAMERA_CLASSIC&Category_Code=S8 This camera is in my opinion the best Super 8 camera you can get. The Logmar might be modern and perfect, but this is classic Super 8.

I would like to protect the lens of my Nizo 561 Macro. i have been trying to find a lens cap for it, but I do not know what size I should I get. I read somewhere that it's a 52mm size. I ordered a screw on lens cap, but its way too big. Does anyone know what size I should get? I would like to get one that either screws onto the lens thread or goes over the lens. Thanks.

Hi everyone, first post here. Glad to be in a forum like this. I have a project due in a few days (Super 8 B&W reversal roll 200T) and my camera (Nikon Super Zoom 8) isn't showing what the automatic exposure is. I'm sure it works, it's just the dial isn't moving in any direction when I check for the exposure (it's stationary between stop 2 and 4). ​I really need to do this project, but it really is too late to rent a camera tomorrow. What do I do? Can I ballpark the exposure? More or less what would the exposure be (outdoors) from bright light to under the shade of a tree to dusk? Just need at least something to show up.